by Mohamed Haj Yousef ‧ RELEASE DATE: Dec. 25, 2017
A historically illuminating account of an ancient but still relevant conception of the universe.
A researcher offers a comprehensive presentation of an ancient Islamic theory of time that has implications for modern cosmology and physics.
According to Haj Yousef (The Single Monad Model of the Cosmos, 2007), the medieval Islamic philosopher Ibn al-Arabi devised a cosmology that not only anticipates the emergence of modern quantum mechanics, but also provides solutions to its most vexing problems. At the heart of Ibn al-Arabi’s view of the universe is a dualistic conception of time. On the one hand, time is ontologically real if understood from the perspective of each moment. But the experience of time is always as a continuous volume—a perceptual distortion of the real world, an imaginary manifestation. The paradox of our observation of time is that we’re only ever encountering time as the past, the continual re-creation of each discrete moment ad infinitum. As a result, the world bifurcates into two states: a vacuum, the empty space that constitutes time in its reality, and the void, the phenomenal expression of time as we experience it. This division opens up the possibility of simultaneously existing dimensions, thereby creating the conditions for a monistic harmony of the psychical and the physical. Haj Yousef intends this volume as a sequel to his first book on Ibn Al-Arabi, expanded to be “more accessible to the wider scientific community.” This reworking includes an account of the history of cosmology, from ancient Sumerian and Babylonian versions to the present, and a thorough introduction to Islamic mysticism. The author’s command of the pertinent historical and theoretical material is breathtaking, with some of his conclusions peculiar but tantalizing. For example, he argues that ancient alchemy can actually be understood as a precursor to quantum mechanics, and that Ibn al-Arabi anticipates contemporary discussions of black holes. But Haj Yousef can sometimes enthusiastically overemphasize the explanatory power of Ibn al-Arabi’s cosmology. It surely seems like an overstatement to claim that “most, if not all, of the major fundamental problems of physics and cosmology are easily solved in this model.” Still, this remains a captivating study for those with a strong grasp of modern physics.
A historically illuminating account of an ancient but still relevant conception of the universe.Pub Date: Dec. 25, 2017
ISBN: 978-1-5395-7920-5
Page Count: 338
Publisher: CreateSpace
Review Posted Online: April 11, 2018
Review Program: Kirkus Indie
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by Elijah Wald ‧ RELEASE DATE: July 25, 2015
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
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by Elijah Wald
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BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
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